Wednesday, January 24, 2001
ďSo, What IS The Communication?Ē
ďOh, THAT Clears It All Right Up!Ē
Participants: Mary (Michael), Bobbi (Jale), and Vic (Lawrence).
[Paul H.ís note: sadly, Vicki Pendley passed away suddenly on December 06, 2001 after a short bout of flu and pneumonia. This is the last transcript she published. So, from this point onward her sense of humor, wonder, and concern will be sorely missed in the Transcripts. Vic played a critical role in helping to ground the Elias phenomenon, and her friend Mary Ennis, from the beginning of the sessions in April 1995.
[Ironically, Bobbi Houle, a friend, neighbor, and the main participant of this session, would take over Vicís job as lead transcriber. Bobbiís first transcript, #765, follows.]
Elias arrives at 10:57 AM. (Arrival time is 23 seconds.)
ELIAS: Good morning!
BOBBI: Good morning. Nice to see you again in person! (Elias chuckles) I have a few questions today about my experiences in the last month Ė well, several months actually Ė mostly regarding my friend and parallel counterpart whoís going through a very difficult time, which is quite the opposite of the experiences that Iíve been having in the last few months, where everything has been going really very well. So my question, I guess generally, is about the parallel counterpart action Ė if we are still parallel counterparts Ė and I guess Iíll just sort of start in with my more specific questions.
She was diagnosed with breast cancer in September, and it has just gotten worse and worse, her experiences. She had three surgeries in two months. All of the procedures they attempt just go as difficult as they possibly can, amazingly difficult to even the doctors. Iíve been very drawn ... I mean, sheís my best friend anyway. But Iíve been very drawn to her in this situation, and have found myself going with her to doctorís visits, and wanting to lend as much helpfulness and support as Iím able to, and part of that desire ... I thought it would be helpful for me to engage more of an empathic action.
I have been noticing different experiences, where Iíll have quite similar physical experiences that sheís having, unbeknownst to the two of us Ė some of them to the extreme, some of them more minor Ė and for a while I was interpreting those as being maybe a result of that empathic thing. I was thinking empathic more on an emotional level, to see where sheís at in her experience. Then in thinking about it more, I wondered if maybe those experiences, those physical symptoms that I was having that were quite similar to what she was going through, was simply similar creations in parallel counterparts.
ELIAS: And you are wishing for an identification of what your action has been?
ELIAS: I may express to you that it is not an empathic action. You are not creating the same physical expression of dis-ease, but you are creating similar symptoms. This is a counterpart action.
Let me also express to you, in parallel counterpart action, the individuals that participate in that action do not necessarily create the same expressions in the same time frameworks at all times. You may be continuing in a parallel counterpart action and be creating different imagery and presenting to yourselves very similar subjects.
BOBBI: Okay, so we are still parallel counterparts.
BOBBI: Yeah, when she was first diagnosed, I thought, ďUh-oh. I hope itís not my turn!Ē (They both laugh) I donít think it works like that, though, any longer.
ELIAS: No. (Laughing) You offer yourselves, in a manner of speaking, enough objective imagery that is presented in very similar manners that you may recognize that you are parallel counterparts, but this is not the rule. This is not to say that in all of your imagery and all of your interactions or all of your counterpart action, you shall be creating the same imagery in every situation. You may create many situations in which you each engage different types of imagery, but underlyingly, for the most part, you shall be viewing or noticing or addressing to the same actions.
BOBBI: And thatís about what it seemed like. Itís just that our objective experiences have been so opposite. Iíd say things have been going exceptionally smoothly for me, while in her experiences, it has been exceptionally difficult during that time.
VIC: Could I interject a question here?
VIC: So with what Bobbi just said about the exceptional difficulty versus non, is that also a parallel counterpart action, but just in extremes?
VIC: Different extremes of the same thing?
ELIAS: Yes. This is what I am expressing to you. You are creating a very similar direction. You are choosing different imagery.
BOBBI: Thatís what it seemed like, sort of the same basic scenario. She was experiencing this side and I was experiencing the other side of it, which weíve done in the past.
ELIAS: You are essentially creating extremes. This is the parallel.
BOBBI: During this time ... and as I said, in the last few months things have been going very well on a number of fronts. But I have noticed myself emotionally being real ... flying back and forth, and Iím assuming this is just this wave in duplicity? ĎCause I should be very happy about things, and yet Iím probably beating myself up worse than I ever have! (Laughing)
ELIAS: Ah. Partially, there is an influence that may be associated with this wave. Partially, you are also presenting to yourself interaction of emotion, that you may be noticing and participating and recognizing that as a communication.
BOBBI: Okay, this is interesting Ďcause I read this just recently, that emotion is a subjective communication.
BOBBI: Okay, this is very interesting, Ďcause I have had sort of odd emotional reactions to things.
ELIAS: And they are not reactions. (Grinning)
BOBBI: Ah. (Vic sighs and starts laughing)
ELIAS: Emotions are never reactions. They are not reactions. They are communications, and they are not presented after an event. They present themselves simultaneous to your objective creation.
As you offer yourself an objective experience, that is one avenue of communication that you are offering to yourself, and the emotion is another avenue of communication. (Pause)
ELIAS: They are both paralleling each other, and the emotion is a communication. It is an expression offered to you as a message concerning what you are creating in the moment.
The feeling, as I have stated previously, of the emotion is the signal. In the signal is the message. But if you are not receiving the signal, if you are not responding to the signal and receiving the message, the signal continues.
BOBBI: Into a strong emotion?
ELIAS: Correct. Or, it may continue in the same intensity or lack of intensity. It may not escalate, in a manner of speaking. It may continue in the same type of expression. At times, it MAY escalate. It is dependent upon the importance of the message.
BOBBI: (Laughing) Oh dear. (Elias chuckles) Because I have been experiencing odd bursts of emotion, and I was attributing it to my age, thinking Iím going menopausal here! (Laughing)
ELIAS: Ah! (Grinning)
BOBBI: Iíve been crying at odd moments from odd things, not even personal experiences. I cry at strange songs, I cry at parades, I cry at dumb stuff! Itís really annoying! (Laughing, and Vic laughs, and Elias chuckles) So apparently there is a message there that Iím not receiving.
ELIAS: Each emotion that you create is a communication in the moment. It is expressing a message to you concerning what you are creating in that moment. (Pause)
And in recognizing that, coupled with the recognition that your thoughts are not designed to override that communication and that your thoughts are not a communication ... for they are not, in themselves. They are a mechanism, a tool to be translating and defining the message of the emotion and of other avenues of communication.
BOBBI: I would love to know how to translate or to interpret, at those moments, what the message is, Ďcause Iím missing it!
ELIAS: And this is the movement that you are creating in the presentment, first of all, in an acceleration of these types of communications, allowing yourself to be noticing. And as you are noticing, you allow yourself the redefinition of the action itself, as not a reaction but as a communication, incorporating your thought process in its natural design and function to be paying attention to that communication and allowing the translation and the definition, paying attention to self in the moment.
As you incorporate all of these actions together, you shall offer yourself different information, for you block the reception of the message merely by defining that the emotion is a reaction. Therefore, incorporating the thought to be defining the emotion, you create a different direction. You offer yourself merely the identification of the signal. (Pause)
As you incorporate an emotion of sadness, so to speak, within a moment, and your definition of the emotion is a reaction, your thought process is merely being required to define the signal. Therefore, it defines the signal. You identify in one term, sadness, and you do not incorporate a translation any further, for there is no message, for it is not a communication. It is a reaction. But it is NOT a reaction. It IS a communication.
Therefore, as you acknowledge the signal, as you identify the signal and define that, you also move into a recognition that that is merely the signal, and the emotion is expressing a message, a communication concerning what you are actually creating in that moment.
I may express to you, as I have expressed previously recently, your objective awareness and your objective imagery is in actuality much more abstract than your subjective.
Your subjective communication, in actuality, in relation to your thought process objectively, as it is coupled with your objective thought process, is in actuality clearer and more precise in its expression of what you are actually creating than the imagery that you present to yourself objectively.
BOBBI: So emotion would be one of those ways to get in touch with that subjective message?
ELIAS: Correct, and define what you are actually creating within your objective experience.
Recognize within yourselves the oftenness of your creations objectively in which you express the thought to yourselves, ďWhy have I created this?Ē (Pause, and Bobbi and Vic murmur in agreement)
In allowing yourselves to pay attention to your communications that you offer to yourself, you define what you are actually creating in each moment.
The creation itself, although familiar and physical and objective, is in actuality less clear and more abstract than the communication that you offer to yourself. But you associate in the reverse. Your attention moves in the association of physical expressions, and as you are presenting yourself with physical expressions and paying attention to those physical creations, you incorporate an association that this is clear.
I have expressed many times, it matters not what you are creating outwardly, your physical imagery. Physical imagery is continuously altering. It is continuously changing. You create physical imagery, and alter this moment by moment. At times, you create repetition in your choice to be creating physical imagery.
This is the abstract aspect of your reality Ė a physical manipulation of energy. This is the reason that you manifest within this physical dimension, to explore and experiment, experiencing the manipulation of physical energy and manifestations, and how you may be projecting your expression of consciousness into a physical arena. This is the abstract.
The clearer aspect of your reality Ė and the one that is, once again, not hidden Ė is the subjective participation of your awareness. But you associate that the subjective IS hidden Ė it is elusive, it is subconscious, it is not in communication with your objective. Therefore, the subjective may move you into expressions and directions that you are not aware of objectively. This is incorrect.
BOBBI: It does seem like that, though.
VIC: It does!
ELIAS: For this is the alteration of your definitions. You have created definitions concerning your reality which have moved in consistency throughout your history, so to speak, and in this shift in consciousness, you are changing. You are altering and redefining your reality, and you begin that redefinition of your reality by redefining the terms of it.
I have expressed from the onset of this forum and this energy exchange that you are creating a new reality in this physical dimension, and one of the actions in that new reality is dropping the veil of separation, incorporating the lack of separation. Therefore, in incorporating the lack of separation, you also are dropping this association, this veil between the objective and the subjective awarenesses.
BOBBI: So there is a veil there....
ELIAS: There has been.
BOBBI: I think I still have one! (Bob and Vic crack up)
ELIAS: But you are moving within this shift in consciousness, and within this present time framework, that veil is extremely thin, and you have moved yourself into an expression of becoming aware. You have moved into a position within self to be allowing yourself, now, the movement of redefining communications.
A basic element of this particular physical dimension, a basic movement and incorporation of action in this physical dimension, is communication; not merely with each other, but more with yourself.
VIC: And most of us sit around feeling pretty clueless about what that communication is!
ELIAS: (Chuckling) And you have designed a physical manifestation that incorporates MANY avenues of communication!
Emotion is one, and as I have stated previously, all of your senses are other avenues of communication. This is their function. The function of emotion is a communication. The function of all of your senses, inner and outer senses, is communication. The function of impulses and impressions is communication. You incorporate communication in your physical body expressions. (Pause) It is an intricate expression of your BEING in this physical dimension.
VIC: Well, could I ask a specific question? So for example, when Bobbi finds herself having an expression of emotion, say, in crying at a parade Ė I think that was one of your examples....
BOBBI: Iíll give you a specific one that I canít make any sense of. When I hear the Gilbert and Sullivan song, ďThree Little Maids From School,Ē thatís it! I donít know why it makes me cry. Itís a happy song Ė I like it! I have no connection as to why in the world that would affect me that way. That seems the most bizarre. The other, like parades, itís like this big mass expression of emotion, despite what the emotion is, of the mass of people. It sort of hits me that way, and I cry. But that specific one is so bizarre.
VIC: So, what is the communication?
ELIAS: And what is your identification, first of all, of the emotion?
BOBBI: Thatís been hard for me to identify too. The symptom of it is that I wind up crying. I get teary-eyed. Itís almost nostalgia, maybe? I donít think itís quite sentimentality, but a longing for something, and thatís about as close as Iíve been able to come.
ELIAS: This is the first step, so to speak, identifying the signal; not the symptom, but the signal.
Once you have identified the signal, you may allow yourself to be exploring within self your association with that signal, and in your association with that signal, you allow yourself to move in the exploration of self, and what you are expressing to you in your recognition of you.
It is not necessarily an action that you may be incorporating in the moment. It may be an association that you are creating, and you offer to yourself, in harmony with each other, two signals Ė objective and subjective.
It is not that you create an action of incorporating this song, and subsequent to your action of the song, you react with the emotion. You are creating the objective expression and the subjective expression simultaneously. They are moving in harmony.
You incorporate the objective action of the song. You incorporate the subjective action of the emotion. As you identify the signal of the emotion, you move into the association of that signal, and allow yourself to define and translate within self the association concerning the signal.
Let me express to you, in actuality, this action does move in an almost automatic fashion once you have incorporated redefining. But as you continue to hold the association that the emotion is a reaction or a response, you also continue to not move your thought process in the direction of translation.
Now; I may express to you, this is an unfamiliar action. It is an unfamiliar association. Therefore, do not delude yourselves with your thought processes, expressing to yourself, ďAh, I hold the definition now, therefore I shall automatically incorporate this action,Ē for your association is quite strong that the emotion IS a reaction. (Pause)
And as you are aware, many times you may be incorporating a concept in what you express to be an intellectual manner, and hold an intellectual understanding and a thought process that you are accepting of this concept for the reason that you are understanding intellectually of this concept.
But your beliefs are quite strong and your definitions are quite familiar, and you hold strongly to the expression of the familiar. And this be the reason, in your terms, that you continue to present these experiences, that you shall continue to present yourself with opportunities to practice redefining and to practice paying attention to self and what you are creating. This is the point of this shift in consciousness, and you ALL are participating! (Pause, and Bobbi starts giggling)
BOBBI: Will I ever get it? (Laughing)
ELIAS: You ARE already! Ha ha ha ha ha! Be reminding of yourself, it is not a goal! You do not incorporate your finish line!
BOBBI: Thatís another thing for me to get rid of then, I suppose.
ELIAS: It is what you are creating NOW. You are not attaining to.
VIC: So once you identify what you are creating, the automatic go-there is the why, which you mentioned just a few minutes ago. So if youíre gonna try to attempt to take the why out of it ... which weíve all been talking about a lot these last few days, taking the why out of it and going to the what. What are you creating? Where is it coming from inside of you?
Whatís the communication, I suppose is the question, regardless if itís an emotion or objective imagery ... and I donít really get this objective imagery being the abstract part. I donít really get that, you know? (Laughing)
ELIAS: For you are continuing to associate in the reverse.
VIC: Yeah, well, quite often for me, thereís objective imagery that I donít feel an emotion attached to, or ... I donít feel an emotion attached to, end of sentence. So I can look at that kind of imagery, and Iíve been trying to like go to the ďwhat are you creating,Ē and trying to stay away from the why. But even if you identify what you are creating, then where do you go? (Pause) Do you understand what Iím saying?
ELIAS: This is not merely the identification of a belief. As you are aware, all that you incorporate within your physical dimension, for the most part, is associated with your beliefs. We are not discussing identifying beliefs that are influencing, for generally speaking, in this now, you do not incorporate much challenge or difficulty in the identification of your own beliefs.
VIC: Right. So now Iím gonna get more specific about me. Iíve had this imagery recently of three different physical objects that I work with, that I use, going off and on intermittently. I am aware that itís not a matter of simply or singularly my belief that things are broken and need to be fixed. I am aware that this is not indicative of that like some previous imagery Iíve created, that this is not so much about the belief, but itís about something else, and I canít....
ELIAS: It is a communication.
VIC: Well, of what??
ELIAS: And this is what you are presenting to yourself to explore!
Each of you are choosing different expressions objectively that shall present you with the opportunity to be exploring this concept of communication, and exploring the lack of separation between the objective and the subjective expressions.
(To Bobbi) You incorporate an extreme in the expression of emotion. Therefore, in that, your attention, in recognition of that communication, seeks out the association of the objective imagery that is associated with the communication, for they are both moving in harmony and creating the same expression simultaneously. Therefore, you initially are paying attention to the emotion, that aspect of communication, and seeking out the coupling of the objective imagery that is in harmony with the communication.
(To Vic) You are creating the reverse. You present yourself [with] your attention directed to the objective expression or creation, and seek out the subjective communication or emotion that is associated and being incorporated simultaneously to the objective expression.
(To both) In each of these actions, beyond the movement of coupling the two directions of communication, you turn your attention inward to you, allowing yourself both aspects of communication, and in that, you seek out the association which is related to what you are creating.
(To Vic) You incorporate difficulty, for you are not, at times, paying attention to the signal; not beyond the signal to the message, but not entirely recognizing the signal of the emotion.
(To Bobbi) You are not incorporating the recognition of the other avenue of communication. You are paying attention to the signal of the emotion, and not paying attention to the objective association which is being created simultaneous.
(To both) And neither of you are allowing yourselves to move beyond the signal to the reception of the message by paying attention to your inner associations. (Pause)
(Humorously) And this, my friends, is your method, of which you inquire of so very often Ė offer to me a method, Elias! Ė and this is your method in how you may be recognizing what you are creating.
And the point of allowing yourself to be recognizing what you are creating in each moment is that you allow yourself a much more expansive new expression of freedom, for you offer to yourself many, many more choices as you recognize what you are creating in each moment.
And in this, you discontinue incorporating being the victim of yourself, and I may express to you quite definitely, you ALL incorporate being the victim of yourself much more than you objectively recognize! (Pause, and we both start laughing)
Ha ha ha ha ha! And the challenge is presented! Ha ha ha ha ha!
VIC: Thatís just crazy, you know? Itís CRAZY!
ELIAS: Ha ha ha ha! Ah yes, and I incorporate that responsiveness from many individuals! Ha ha ha ha ha ha ha! (Pause)
I may express to you, we shall be discussing this subject matter of communication ongoingly, for this is the presentment of an intense challenge with you all! (Pause)
ELIAS: And it DOES incorporate a coupling with duplicity, in your lack of recognition of your own abilities and the limitations that you place upon yourselves. (Pause)
VIC: I kinda got that part! (Laughter, and Elias chuckles)
(To Bobbi) Well, I have like an off-the-wall question, but why donít you go ahead with your sisterís thing.
BOBBI: Okay. I just have two actually quick questions, Ďcause Iíd like to know about the essences thing. You had mentioned that more than one essence can participate in a focus?
BOBBI: Do I have more than one essence participating in this focus?
ELIAS: Not within this present now, no.
BOBBI: Meaning previously?
ELIAS: You have incorporated that action previously; within this present now, no.
BOBBI: Okay, thank you. I do have a question for my sister.
In the past year or year-and-a-half, she keeps finding dimes all over in odd places, places where sheíll clean and come back into the room, and there will be a dime in the middle of the floor or on the table. She finds dimes in her shoes in the back of the closet! She says, ďI know itís not me. Over the past year, Iíve collected 65 dimes. What is going on with the dimes?Ē
ELIAS: (Chuckling) And I may express to you, you may offer this entire conversation as response! (Bob and Vic crack up)
BOBBI: Okay! I know how she interprets it to herself, that it is her guides or her angels leaving messages around for her....
BOBBI: Well, yeah! Her communication! There you go! (And we both crack up again)
ELIAS: (Grinning) And this be the point and this is my response, that you may offer the entire conversation as response, for it IS a communication!
BOBBI: Okay, so the fact that itís a dime, itís just that particular imagery? It doesnít really hold any significance?
ELIAS: It is what she has chosen as her imagery.
BOBBI: As her imagery. Okay. Thank you.
ELIAS: Ha ha ha ha ha ha ha!
VIC: I always thought I was so good at communication too! (Laughing)
ELIAS: HA HA HA HA HA HA HA!
VIC: Okay. Anyways, one of the things I did want to talk about today, just Ďcause itís me and Bobbi sitting here, is to go back to this other-dimensional reality that weíve all been talking about off and on. Bobbi and I, weíve had some connections here and there with this. We donít get the Lemuria part. We both have a little bit of a tilt going on with that, and....
ELIAS: It is a translation. It is not literal.
VIC: An individual translation?
ELIAS: Yes. Many individuals create this specific translation, but it matters not. It is a translation.
VIC: So this other-dimensional reality within this dimension that weíve been ... this is real, correct?
VIC: Okay! (Laughing) Weíll just establish that, okay? This is real! (Laughter, and Elias cracks up) It feels real, you know, but then of course.... Okay, so thatís real, but....
ELIAS: What is the definition of not real? HA HA HA HA HA HA HA!
VIC: Iím not sure any more!
VIC: But as far as the communication that each individual receives and the way they translate it to themselves, that is an individual thing, and that is ... I canít even phrase the damn question. Itís like ... is there a Lemuria? People talk about Lemuria. Is that an other-dimensional reality?
ELIAS: This has been established.
VIC: Okay. So I guess what I donít get is, is this other-dimensional reality weíve been talking about ... this other-dimensional reality of Lemuria? (Iím so confused!)
ELIAS: You have asked and I have answered.
VIC: It is a translation.
ELIAS: Correct. Yes, it is reality. Yes, it is what you translate as Lemuria ... INDIVIDUALLY. Many individuals create that same association and translation, but it is a translation.
Let me express to you, Lawrence, it is quite similar to the experiences that individuals incorporate within your dimension of encountering what you term to be aliens. Many individuals in these encounters create the same translations. They view the same types of beings. Some individuals create different translations, and their beings appear to them differently. They may be interacting with the same dimension, and their translation may be different.
If you are inquiring as to the absoluteness, ďIs this physical dimension named Lemuria?Ē no. This is a translation which you create within this physical dimension. In actuality, there is no translatable word in the identification of that physical dimension. What is the translatable word of your physical dimension? You do not incorporate one. Neither does that dimension.
VIC: So, our difficulty in this particular translation is just that we choose to translate it differently? Is that what youíre saying?
ELIAS: Correct. It matters not. Some individuals within your physical dimension express a comfort within themselves in offering themselves an identification through the creation of a physical word, in similar manner to your inquiry concerning projection in relation to time or space. It matters not. They are different associations, but they are accomplishing of the same action. It is merely a difference in individual translations.
VIC: So the actual....
ELIAS: You may offer the concept to yourself or to other individuals, that they question what their identification of this dimension is, for you do not hold one. This is not the ďearthĒ dimension!
VIC: (Laughing) So the actual translation isnít the point anyway. Weíre just kinda getting hung up on that.
VIC: The actual point is the communication.
VIC: But the translations are individual, and weíre just kinda like getting hung up on that, probably Ďcause of some beliefs we share.
ELIAS: Correct, and your suspicion of difference and your validation in sameness.
VIC: Suspicion of difference?
ELIAS: You validate yourselves in expressions of sameness. Difference creates an automatic expression within yourselves of question, doubt. It becomes suspect. Either your expression and association is suspect or another individualís is suspect, for they are different.
VIC: And it just doesnít matter, because that is the translation.
ELIAS: You are correct. It matters not. (Pause)
VIC: ĎKay. (Elias chuckles humorously)
ELIAS: My encouragement to each of you this day is to be discovering the translation and association of your own communications.
(To Vic) Yours through the recognition, first of all, of the emotion communication which you offer to yourself, and subsequently the translation and identification of the message.
(To Bobbi) And yours in the recognition of the objective expression that is associated with the emotional communication, and the same action subsequently.
And I may express to you each the encouragement that you incorporate FUN (laughter) in your exploration, and not incorporating ... ah, your expression with Michael of your brain-ache Ė ha ha ha ha! Ė in your seriousness with your exploration! In actuality, it may be fun! Ha ha ha ha ha ha ha! (Chuckling, and a pause)
VIC: Youíre a wing-nut, Elias! (Bob and Vic crack up)
ELIAS: Ah! And in the expression of that energy, I shall be graciously accepting of your expression in compliment! HA HA HA! (Chuckling, and a pause)
Very well! (Vic laughs) May I say, you have incorporated much to chew upon! (Laughing) I am incorporating much fun! (Chuckling)
VIC: Well, Iíll throw one last thing in there briefly. I had a couple of experiences a few months ago, which were ... it was like the alien creature experience, actually. They were very real when they happened, and one involved being pulled over by a policeman. But I was aware, kind of anyway, that they werenít really inserted into this reality, but they were full-on waking experiences that just felt different, and that basically is what that was Ė itís like that alien creature experience, right?
ELIAS: Similar. You are correct Ė you are not inserting, in a manner of speaking. But you are recognizing in that moment that it is not merely your experience, but your creation Ė ALL of it.
VIC: But isnít that true of all of our reality?
ELIAS: You are correct, although you have materialized your alien creature. You are allowing yourself the recognition that this is not an action of materializing in the moment this individual, but that this individual is YOU.
VIC: The police officer.
ELIAS: Correct. (Pause)
ELIAS: HA HA HA HA HA HA HA! (To Bobbi) Confusion!
ELIAS: Ha ha ha ha ha ha ha!
VIC: Well, you know, with the cat ... the other experience was with the cat. It appeared, and it was there for a while, and when it was gone, I actually had cat hair on my hand. I mean, I had cat hair on my hand! You know? (Elias is grinning and nodding) But that was the same type of thing, though, right? It was like I created that ...
ELIAS: You are correct.
VIC: ... and inserted it into my particular reality in that time framework for as long as the experience lasted ...
VIC: ... and then uncreated it?
ELIAS: Yes, and you have offered yourself what YOU associate as physical evidence.
VIC: Right, as proof ...
VIC: ... for myself.
ELIAS: Your own parlor trick!
VIC: Yeah, okay.
ELIAS: Ha ha ha ha ha ha ha!
VIC: Weird. (Laughing) Okay.
ELIAS: HA HA!
Very well. I offer to you both tremendous affection, (laughing) and shall continue to be playful with you! (Chuckling) To you each this day, au revoir.
VIC: Au revoir.
BOBBI: Au revoir, and thank you.
Elias departs at 12:07 PM, and the first comments are:
BOBBI: Well, that just clears it all right up!
VIC: It surely does! Yep, it clears it all right up! Yup!
And we dissolve into laughter!
© 2001 Mary Ennis, All Rights Reserved.